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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 243"
COURSE NAME: "Keeping the Dead Alive: Roman Funerary Art and Architecture in Context"
SEMESTER & YEAR: Spring 2016
SYLLABUS

INSTRUCTOR: Sharon Salvadori
EMAIL: [email protected]
HOURS: TH2:15 PM 5:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Partially on-site
OFFICE HOURS:

COURSE DESCRIPTION:

Throughout human history, the concept of death has been inseparable from that of life, and the commemoration of the dead has traditionally been an important point of convergence and locus of expression for a wide range of cultural, political, religious, and social values, fears and beliefs. This was especially true in ancient Roman society, which placed a high value on honoring the dead, on ancestry, and remembrance, not least because perpetuating the memory of the deceased was a means to assert the identity and status of the survivors. Roman funerary art was, therefore, a primary vehicle for the self-representation of the living. Moreover, the patrons of commemorative art range from the imperial family to the middle classes to freedmen and slaves, so that extant funerary monuments provide unparalleled insights into the values of ancient Roman men and women across the social spectrum. The course examines Roman funerary art and architecture from the first century B.C. to the fourth century AD.

SUMMARY OF COURSE CONTENT:


This course analyzes Roman funerary art from the late Republic to Late Antiquity, with particular emphasis on the superb collection of burial monuments that survive in and around the city of Rome. In-class lectures will alternate with site and museum visits throughout the semester. The primary aims of the course are to gain an  in-depth familiarity of Roman tomb types, burial areas and funerary iconography and the ability to discuss and evaluate the different meanings of Roman funerary iconography in relation to Roman society and beliefs.

Roman funerary monuments range from relatively inexpensive inscribed tombstones to richly decorated mausolea. Ancient Roman society placed a very high value on keeping alive and honoring the memory of the dead and a dignified tomb was considered the most effective means to permanently and visibly fulfill this obligation. 
Funerary art is therefore not only the largest extant category of Roman Art, but "re-presents" a cross section of Roman society, from slaves to aristocrats, and from as far back as we can date Roman art.

For many Romans grief, devotion and duty towards the dead mingled not only with beliefs concerning the survival of the spirits of the dead, but with an understanding that honoring the deceased greatly contributed to the reputation and status of the survivors and their descendants. The imagery and inscriptions on Ancient Roman tombs were, therefore, often a means to assert and commemorate the identity (real or projected) not only of the dead, but of the living. The construction and perception of identity in Roman society, as in any culture, was shaped by a whole range of cultural, political, religious, and social values, fears and beliefs. While specific ideologies of death certainly mediated the meaning of representations in the funerary context, close analysis of the location, typology, media and iconography of extant tombs provide unparalleled insights into the values of Roman men and women and are a privileged means to interpret the relationship between art and Roman society.


LEARNING OUTCOMES:

  • an in-depth familiarity of Roman tomb types, burial areas and funerary iconography
  •  the ability to discuss and evaluate the different meanings of Roman funerary iconography in relation to Roman society and beliefs
  • Knowledge of representative examples of Roman burial and tomb types
  • Knowledge of key iconographical motifs in Roman funerary art and their significance

  • Knowledge of the typical contents and significance of funerary inscriptions

  • Knowledge of the main beliefs of the Romans concerning the afterlife

  • Knowledge of Roman funerary rituals and ceremonies

 

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Roman DeathValeri HopeContinuum Books9781847250384     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
PARTICIPATIONIn addition to attendance, active class participation is expected of all students. Participating effectively entails completing and taking notes on all "Required Reading" before class so that during class you can effectively engage: prepared to ask and answer questions and to share any pertinent observations. Remember too that the more you engage, the more interesting the class will be not only for you but also for everyone else- professor included! 5
QUIZZES5 quizzes are scheduled in the course of the semester. The quiz with the lowest score will be excluded from the final tally. That means that each of the remaining 4 quizzes is worth 5% of your course grade. Please be aware that if you miss a quiz -for any reason, including illness- you will not be able to make it up (it will be the one not tallied). All the quizzes will be on material we have previously discussed in class and will be drawn exclusively from the PPoint "Study Images" posted on MYJCU. Typically, however, “Study Images” are not labeled, therefore you must refer to the “Required Reading” and PPoint lectures to determine their identity and significance. The quizzes are designed to assess your knowledge of key facts concerning representative monuments and artworks and your ability to critically interpret their historical significance. Each quiz will consist in one or more questions on specific areas, monument or object types, individual monuments or artworks or sets of monuments or artworks. You may be asked the name of an area, monument, building or artwork, as well as its location, date, function and/or patronage; you may also be asked to describe it (structural and decorative components, materials used, style, iconography, etc.); or you may be asked to a question on some aspect of its significance (e.g. the intended meaning- political, religious, social, aesthetic- of the iconography of a given monument). Depending on the number and nature of the questions, you will be given anywhere between 5 and 15 minutes to answer. The dates and topics of the quizzes will be listed in the Course Schedule. 20
EXAMS The mid-term and the final exam (each worth 15% of the course grade) are structured to assess students’ knowledge of key facts about Roman funerary monuments and their original social, cultural, religious and historical significance. Both exams are based on lectures and reading assignments. The mid-term exam covers the course material studied through week 7. The final exam is cumulative, although with a greater emphasis on material studied in the second-half of term. Both exams will consist in -6 slide identifications 5 minutes each, worth 30% of your exam grade. Name/Subject, typology, date, media, (original) location, and patronage must be specified as known or relevant. E.g. a House Tomb does not, strictly speaking, have a subject, but a mythological sarcophagus does; a funerary portrait statue of an anonymous woman is just that, but the subject may be depicted in the nude or dressed in chaste attire, be shown as youthful or middle aged, with a fashionable hairstyle, veiled, holding attributes, etc. and these key referents of her identity must be mentioned. -4 slide comparisons 10 minutes each, worth 40% of the exam grade. One or more images of two sites, monuments or artworks will be shown to you. You must identify them (again name/subject, typology, date, media, original location, function, and patronage must be specified as known or relevant) and consider them in relation to one another, i.e. discuss significant similarities and differences (often structural or formal components, function, meaning and patronage). Typically comparisons are about thematic connections. So, e.g., the fact that one monument shown is a painting and another a sculpture is less important to note than how the two are similar or different in relation to a shared thematic component. For example, two funerary monuments may be contemporary and thus be an expression of interrelated (though not necessarily identical) concerns of the period. Since comparison is the real point of the questions, spend most of the allotted time discussing the relationship between the two sites, monuments or artworks -1 essay 30 minutes, worth 30% of the exam grade. Two weeks prior to the exam, you will be given 2 essay questions accompanied by images of sites and/or monuments. One of the two will be on exam. Please note, however, that the other will undoubtedly show up in the identifications and comparisons, so be sure to prepare for both. Assigned readings will help determine the essay questions. I.e. you must do the assigned reading to answer appropriately. 30
ORAL PRESENTATIONEach student is responsible for a short (10 minutes) Power Point presentation on individual or related sets of Roman funerary monuments in class. A list of monuments and a schedule will be provided during the second week of the course. Guidelines for the Presentation will be posted on MY JCU and we will also be discussing these during week two of the course. You will be expected to sign up for presentation by week 3. 15
TERM PAPERLength: 3000 words minimum, exclusive of bibliography and images; 4000 words maximum, exclusive of bibliography and images Due Date: Last scheduled class The paper should be a combination of research and formal and iconographic analysis and interpretation, a formal essay that demonstrates the skills honed during the semester. Paper guidelines, including suggested topics, posted on MY JCU in the first few weeks of term and will be discussed in class after the mid-term exam.30

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:

Students are expected to attend all classes. Lectures and in-class discussion often do more than simply complement required reading assignments and being absent inevitably results in extra work to catch up. It should also be noted that missing classes may entail missing quizzes which may not be made up.


ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

1. Thurs. Jan 21:  Introduction to the course

· course content and scope, requirements, reading, logistics, etc.
·
chronological overview
·
introduction to funerary beliefs and practices
·
introduction to Roman burial grounds
· the patrons of Roman funerary art: social classes and social hierarchy in Ancient Rome

· introduction to tomb typologies

2. Thurs. Jan 28:  Introduction to tomb typologies, epitaphs and funerary iconography (at the Museo delle Terme and Palazzo Massimo)

Required Reading
: Hope (2009): Introduction and Ch. 6 (xerox)
; and Study Images: A

3.  Thurs. Feb. 4: Keeping the dead alive: ritual, performance and image

· Roman antecedents and shared traditions: early Rome, Latium and Etruria
·
aristocratic funerals, ancestors, ancestor masks, death masks and funerary portraits
·
funerary processions and games
·
honoring, sanctifying and soothing the spirits of the dead at the tomb
·
banqueting with the dead at the tomb

Required Reading:
Hope (2009), Ch. 3 (xerox); Flower (2004);  Study Images: B

**QUIZ 1:  Roman tombs: typology and terminology (Study Images A)

**Review of Presentation guidelines

4. Thurs Feb. 11: Funerary monuments and social status: Republic to the Early Empire

Required Reading:
D'Ambra (1998) Roman art, Chs. 1 and 3; Davies, G. (2011); Kleiner, F. S. (2007), Ch. 6; Walker (1985), 36-61;  Study: Images: C and D

**QUIZ 2: Images of Ritual in Funerary Art (Study Images B) *****

5. Thurs. Feb. 18
: Funerary monuments and social status: Republic to the Early Empire, cont.

Required Reading: See Previous Class

**QUIZ 3: Elite and non-elite burials (Study Images C and D)*******


Keeping the Dead Alive in the shape of the Gods
imperial divinities: temple, tomb, cult, and image
private deification: funerary portraits

Required Reading:
Davies (2000), 13-19, 137-42 (Mausoleum of Augustus), 19-27, 67-71, 142-48 (Arch of Titus), 127-135 (column of Trajan), 34-48, 158-71 (Mausoleum of Hadrian, columns of A. Pius and M. Aurelius); Matheson (1997); and Study Images: E and F

6. Thurs. Feb. 25: Funerary monuments of the Early Empire in the Vatican Museums: ash urns and altars, funerary portrait busts and freedmen reliefs

7. Thurs. Mar. 3Oral Presentations: Art of the Non-elites in the Early Empire
                            Mid-term exam review:
Please read review sheet before class

8.
Fri. Mar. 4: Funerary monuments of the Early Empire, cont.

Tomb of the Scipios
Columbaria of Vigna Codini
Columbarium of Pomponius Hylas
Mausoleum of Priscilla
Mausoleum of Cecilia Metella
Pyramid of Gaius Cestius

Required Reading: Claridge (2010), 365-368 (Tomb of Scipios), 397-401 (Pyramid) and pp. 430-431 (Cecilia Metella); Coarelli (2007), pp. 346-7 (Pyramid), 374-376 (Vigna Codini), 393-4 (Cecilia Metella)

9. Thurs. Mar. 10: MID-TERM EXAM                           

10.
Thurs. Mar. 17: Inhumation, Sarcophagi and House Tombs

Required Reading: Birk (2013), Ch. 1; Kleiner, F (2007), Ch. 11; Walker (1985), 18-50; Study Images: G and H

**Discussion of Term Paper Please read Term Paper Guidelines before class

11. Thurs. Mar. 24: Sarcophagi: changes in subject and context between the 2nd and 3rd cents.

Required Reading: Borg (2011); Borg. (2013) Ch. 6; Kleiner, D. (1992), 256-259, 301-308, 350-351, 384-392; and  Study Images: H, I and J

**QUIZ 4: Sarcophagi 
(Study Images H)

MAR. 28-Apr. 3: SPRING BREAK

12. Thurs. Apr. 7: Sarcophagi and House Tombs in the Vatican Necropolis (on site)

Required Reading: Coarelli, (2007), 354-9 (Vatican necropolis area); Toynbee and Ward Perkins, Part One: The Vatican Cemetery)
- browse, study photos and plans

13.
Thurs. Apr. 14:
Oral Presentations: 2nd and 3rd century sarcophagi
                              Death, burial and Christian identity in 3rd and 4th century Rome: catacombs and catacomb painting

Required Reading: Bodel (2008); and Elsner (1988) Chs. 6 and 8


14. Thurs. Apr. 21: Death, burial and Christian identity in 3rd and 4th century Rome, cont on-site (catacomb TBA)

Required Reading: See Previous Class

**TERM PAPER DUE


15. Thurs. Apr. 28: Death, burial and Christian identity in 3rd and 4th century Rome

Required Reading:
Mathews (2001) Chs. 2, 3 and 5

**Quiz 5: Catacombs and catacomb painting
(Study Images K and L)

** Review for final exam
Please read review sheet before class